Republic of the Philippines

PRESIDENT RAMON MAGSAYSAY STATE UNIVERSITY

(formerly Ramon Magsaysay Technological University)
Iba, Zambales, Philippines
Telefax: (047) 811-1683
E-mail: rmtupresident@yahoo.com Website: www.rmtu.com

CONTEMPORARY, POPULAR AND EMERGENT LITERATURE

MAJOR 13

EMERGING LITERATURE

Emerging literature is an integration of a traditional and technological driven form of

literature.

Lesson 8
INTRODUCTION TO EMERGING LITERATURE

I. CREATIVE NON-FICTION
Also known as literary non-fiction or narrative
non-fiction. It is a genre of writing that uses
literary styles and techniques to create factually
accurate narratives. Contrasts with other non-
fiction, such as technical writing or journalism,
which is also rooted in accurate fact, but is not
primarily written in service to its craft. As a genre,
creative non-fiction is still relatively young, and is
only beginning to be scrutinized with the same
critical analysis given to fiction and poetry. It is a
rich mix of flavors, ideas and techniques, some of
which are newly invented and others as old as
writing
itself.
Creative

nonfiction can be an essay, a journal article, a

research paper, a memoir, or a poem; it can be
personal or not.
The creative nonfiction writer produces a personal
essay, memoir, travel piece, and so forth, with a
variety of techniques, writing tools, and methods.
He/she is required to use the elements of nonfiction,
literary devices of fiction, and what Lee Gutkind
called “the 5 Rs of Creative nonfiction.” The
following is a brief explanation of each:
Characteristics of Creative Nonfiction
The creative nonfiction writer often incorporates several elements of nonfiction when writing
a memoir, personal essay, travel writing, and so on. The following is a brief explanation of
the most common elements of nonfiction:
1. Fact. The writing must be based on fact, rather than fiction. It cannot be made up.
2. Extensive research. The piece of writing is based on primary research, such as an
interview or personal experience, and often secondary research, such as gathering
information from books, magazines, and newspapers.
3. Reportage/reporting. The writer must be able to document events or personal
experiences.
4. Personal experience and personal opinion. Often, the writer includes personal
experience, feelings, thoughts, and opinions. For instance, when writing a personal
essay or memoir.
5. Explanation/Exposition. The writer is required to explain the personal experience or
topic to the reader.
6. Essay format. Creative nonfiction is often written in essay format. Example: Personal
Essay, Literary Journalistic essay, brief essay.

Elements of Creative Non-fiction

The main elements of creative nonfiction are setting, descriptive imagery, figurative
language, plot, and character. The overarching element or requirement that distinguishes
creative nonfiction from any other genre of writing is that while other literary genres can
spring from the imagination, creative nonfiction is, by definition, true. As you complete the
assigned readings in this chapter, keep track of the following elements as they arise in your
readings: see if you can identify each of them. Learning these elements now will form a solid
foundation for the rest of the class.

1. Setting
Each story has a setting. The setting is the place where the story takes place. Usually,
an effective story establishes its setting early in the story: otherwise readers will have a
difficult time visualizing the action of the story. Below is an example of how a writer might
establish setting in a way which immerses the reader: by showing rather than telling.
Example:
I went to the lake. It was cool. My breath escaped in ragged bursts, my quadriceps
burning as I crested the summit. The lake stretched before me, aquamarine, glistening in the
hot August afternoon sun. Ponderosa pines lined its shores, dropping their spicy-scented
needles into the clear water. Despite the heat, the Montana mountain air tasted crisp.
Which of the above lakes would you want to visit? Which one paints a more immersive
picture, making you feel like you are there? When writing a story, our initial instinct is
usually to make a list of chronological moments: first I did this, then I did this, then I did that,
it was neat-o. That might be factual, but it does not engage the reader or invite them into your
world. It bores the reader. Ever been stuck listening to someone tell a story that seems like it
will never end? It probably was someone telling you a story rather than using the five senses
to immerse you. In the example above, the writer uses visual (sight), auditory (sound),
olfactory (smell), tactile (touch), or gustatory (taste) imagery to help the reader picture the
setting in their mind. By the final draft, the entire story should be compelling and richly
detailed. While it's fine to have an outline or first draft that recounts the events of the story,
the final draft should include dialogue, immersive description, plot twists, and metaphors to
capture your reader's attention as you write.

2. Descriptive Imagery
You have probably encountered descriptive imagery before. Basically, it is the way
the writer paints the scene, or image, in the mind of the reader. It usually involves
descriptions of one or more of the five senses: sight, sound, smell, touch, or taste. For
example, how would you describe a lemon to a person who has never seen one before?

Example:
Imagine you are describing a lemon to someone who has never seen one before. How would
you describe it using all five senses?
Sight Taste
Sound
Smell
Touch

One might describe a lemon as yellow, sour-smelling and tasting, and with a smooth,
bumpy skin. They might describe the sound of the lemon as a thump on the table if it is
dropped, or squelching if it is squished underfoot. By painting a picture in the reader's mind,
it immerses them in the story so that they feel they are actually there.
Figurative. Figurative language can also take the form of simile: "aunt Becky's
attitude was as sour as a lemon." By comparing an abstract concept (attitude) to an object
(lemon), it imparts a feeling/meaning in a more interesting way.

3. Plot
Plot is one of the basic elements of every story: put simply, plot refers to the actual
events that take place within the bounds of your narrative. Using our rhetorical situation
vocabulary, we can identify “plot” as the primary subject of a descriptive personal narrative.
Three related elements to consider are scope, sequence, and pacing.
 4. Scope
The term scope refers to the boundaries of plot. Where and when does the story
begins and ends? What is its focus? What background information and details does the story
require? I often think about narrative scope as the edges of a photograph: a photo, whether of
a vast landscape or a microscopic organism, has boundaries. Those boundaries inform the
viewer’s perception.
The way we determine scope varies based on rhetorical situation, but I can say
generally that many developing writers struggle with a scope that is too broad: writers often
find it challenging to zero in on the events that drive a story and prune out extraneous
information.
Consider, as an example, how you might respond if your friend asked what you did
last weekend. If you began with, “I woke up on Saturday morning, rolled over, checked my
phone, fell back asleep, woke up, pulled my feet out from under the covers, put my feet on
the floor, stood up, stretched…” then your friend might have stopped listening by the time
you get to the really good stuff. Your scope is too broad, so you’re including details that
distract or bore your reader. Instead, focus on the most exciting or meaningful moment(s) of
your day: "I woke up face-down to the crunch of shattered glass underneath me. When I
wobbled to my feet, I realized I was in a large, marble room with large windows overlooking
the flashing neon lights of the Las Vegas strip. I had no idea how I got there!" Readers can
expect this story will focus on how the storyteller arrived in Las Vegas, and it is much more
interesting than including every single detail of the day.

5. Sequence
The sequence of your plot—the order of the events—will determine your reader’s
experience. There are an infinite number of ways you might structure your story, and the
shape of your story is worth deep consideration. Although the traditional forms for a narrative
sequence are not your only options, let’s take a look at a few tried-and-true shapes your plot
might take.

Freytag's Pyramid: Chronological

A. Exposition: Here, you’re setting the scene, introducing characters, and preparing
the reader for the journey.
B. Rising action: In this part, things start to happen. You (or your characters)
encounter conflict, set out on a journey, meet people, etc.
C. Climax: This is the peak of the action, the main showdown, the central event
toward which your story has been building.
D. Falling action: Now things start to wind down. You (or your characters) come
away from the climactic experience changed—at the very least, you are wiser for
having had that experience.
 E. Resolution: Also known as dénouement, this is where all the loose ends get tied
up. The central conflict has been resolved, and everything is back to normal, but
perhaps a bit different.

6. Nonlinear Narrative
A nonlinear narrative may be told in a series of flashbacks or vignettes. It might jump
back and forth in time. Stories about trauma are often told in this fashion. If using this plot
form, be sure to make clear to readers how/why the jumps in time are occurring. A writer
might clarify jumps in time by adding time-stamps or dates or by using symbolic images to
connect different vignettes.

7. Pacing
While scope determines the boundaries of plot, and sequencing determines where the
plot goes, pacing determines how quickly readers move through the story. In short, it is the
amount of time you dedicate to describing each event in the story.
I include pacing with sequence because a change to one often influences the other. Put
simply, pacing refers to the speed and fluidity with which a reader moves through your story.
You can play with pacing by moving more quickly through events, or even by experimenting
with sentence and paragraph length. Consider how the “flow” of the following examples
differ:
The train screeched to a halt. A flock of pigeons took flight as the conductor
announced, “We’ll be stuck here for a few minutes.”
Lost in my thoughts, I shuddered as the train ground to a full stop in the middle of an
intersection. I was surprised, jarred by the unannounced and abrupt jerking of the car. I
sought clues for our stop outside the window. All I saw were pigeons as startled and clueless
as I.

8. Characters
A major requirement of any story is the use of characters. Characters bring life to the
story. Keep in mind that while human characters are most frequently featured in stories,
sometimes there are non-human characters in a story such as animals or even the environment
itself. Consider, for example, the ways in which the desert itself might be considered a
character in "Bajadas" by Francisco Cantú.
Characterization
Whether a story is fiction or nonfiction, writers should spend some time thinking
about characterization: the development of characters through actions, descriptions, and
dialogue. Your audience will be more engaged with and sympathetic toward your narrative if
they can vividly imagine the characters as real people.
Types of Characters:
Round characters – are very detailed, requiring attentive description of their traits and
behaviors.
Your most important characters should be round: the added detail will help your reader better
visualize, understand, and care about them.
Flat characters – are minimally detailed, only briefly sketched or named.
Less important characters should take up less space and will therefore have less
detailed characterization.
Static characters – remain the same throughout the narrative.
Even though all of us are always changing, some people will behave and appear the
same throughout the course of your story. Static characters can serve as a reference
point for dynamic characters to show the latter’s growth.
Dynamic characters – noticeably change within the narrative, typically as a result of
the events.
Most likely, you will be a dynamic character in your personal narrative because such
stories are centered around an impactful experience, relationship, or place. Dynamic
characters learn and grow over time, either gradually or with an epiphany.

9. Point of View
The position from which your story is told will help shape your reader’s experience,
the language your narrator and characters use, and even the plot itself. You might recognize
this from Dear White People Volume 1 or Arrested Development Season 4, both Netflix TV
series. Typically, each episode in these seasons explores similar plot events, but from a
different character’s perspective. Because of their unique vantage points, characters can tell
different stories about the same realities.
This is, of course, true for our lives more generally. In addition to our differences in
knowledge and experiences, we also interpret and understand events differently. In our
writing, narrative position is informed by point-of-view and the emotional valences I refer to
here as tone and mood.

A Non-Comprehensive Breakdown of POV

FIRST PERSON POINT OF VIEW – Narrator uses 1st person pronouns (I/me/mine or
us/we/ours)
Can include internal monologue (motives, thoughts, feelings) of the narrator. Limited
certainty of motives, thoughts, or feelings of other characters.
Example:
 I tripped on the last stair, preoccupied by what my sister had said, and felt my
stomach drop.
SECOND PERSON POINT OF VIEW – Narrator uses 2nd person pronouns
(you/you/your).
Speaks to the reader, as if the reader is the protagonist OR uses apostrophe to speak to an
absent or unidentified person
Example:
 Your breath catches as you feel the phantom step.
 O, staircase, how you keep me awake at night.
THIRD PERSON LIMITED – Narrator uses 3rd person pronouns (he/him/his, she/her/hers,
they/they/theirs).
Sometimes called “close” third person. Observes and narrates but sticks near one or two
characters, in contrast with 3rd person omniscient.
Example:
 He was visibly frustrated by his sister’s nonchalance and wasn’t watching his step.
THIRD PERSON OMNISCIENT – Narrator uses 3rd person pronouns (he/him/his,
she/her/hers, they/they/theirs).
Observes and narrates from an all-knowing perspective. Can include internal monologue
(motives, thoughts, feelings) of all characters.
Example:
 Beneath the surface, his sister felt regretful. Why did I tell him that? she wondered.
STREAM-OF-CONSCIOUSNESS – Narrator uses inconsistent pronouns, or no pronouns
at all.
Approximates the digressive, wandering, and ungrammatical thought processes of the
narrator.
Example:
 But now, a thousand empty⎯where? ⎯and she, with head shake, will be fine⎯AHH!

Typically, you will tell your story from the first-person point-of-view, but personal
narratives can also be told from a different perspective; I recommend “Comatose Dreams” to
illustrate this at work. As you’re developing and revising your writing, try to inhabit different
authorial positions: What would change if you used the third person POV instead of first
person? What different meanings would your reader find if you told this story with a different
tone—bitter instead of nostalgic, proud rather than embarrassed, sarcastic rather than
genuine?
Furthermore, there are many rhetorical situations that call for different POVs. (For
instance, you may have noticed that this book uses the second-person very frequently.) So, as
you evaluate which POV will be most effective for your current rhetorical situation, bear in
mind that the same choice might inform your future writing.
 10. Dialogue
The communication between two or more characters.
For example:
"Hate to break it to you, but your story is boring."
"What? Why do you say that?" he stuttered as his face reddened.
"Because you did not include any dialogue," she laughed.
Think of the different conversations you’ve had today, with family, friends, or even
classmates. Within each of those conversations, there were likely pre-established
relationships that determined how you talked to each other: each is its own rhetorical
situation. A dialogue with your friends, for example, may be far different from one with your
family. These relationships can influence tone of voice, word choice (such as using slang,
jargon, or lingo), what details we share, and even what language we speak.
Good dialogue often demonstrates the traits of a character or the relationship of
characters. From reading or listening to how people talk to one another, we often infer the
relationships they have. We can tell if they’re having an argument or conflict, if one is
experiencing some internal conflict or trauma, if they’re friendly acquaintances or cold
strangers, even how their emotional or professional attributes align or create opposition.
Often, dialogue does more than just one thing, which makes it a challenging tool to
master. When dialogue isn’t doing more than one thing, it can feel flat or expositional, like a
bad movie or TV show where everyone is saying their feelings or explaining what just
happened. For example, there is a difference between “No thanks, I’m not hungry” and “I’ve
told you, I’m not hungry.” The latter shows frustration, and hints at a previous conversation.
Exposition can have a place in dialogue, but we should use it deliberately, with an awareness
of how natural or unnatural it may sound. We should be aware how dialogue impacts the
pacing of the narrative. Dialogue can be musical and create tempo, with either quick back and
forth, or long drawn out pauses between two characters. Rhythm of a dialogue can also tell us
about the characters’ relationship and emotions.

The 5’Rs of Creative Nonfiction

Lee Gutkind, who is a writer, professor, and expert on creative nonfiction, wrote an essay
called “The Five R’s of Creative Nonfiction.” In this essay, he identified five essential
elements of creative nonfiction. These include:
1. Creative nonfiction has a “real life” aspect. The writer constructs a personal essay,
memoir, and so forth, that is based on personal experience. He also writes about real
people and true events.
2. Creative nonfiction is based on the writer engaging in personal “reflection” about
what he/she is writing about. After gathering information, the writer needs to analyze
and assess what he/she has collected. He then must evaluate it and expression his
thoughts, views, opinions. Personal opinion is permissible and encouraged.
 3. Creative nonfiction requires that the writer complete research. The writer needs to
conduct research to learn about the topic. The writer also needs to complete research
to discover what has been written about the topic. Even if a writer is crafting a
personal essay, he will need to complete secondary research, such as reviewing a
personal journal, or primary research, such as interviewing a friend or family member,
to ensure that the information is truthful and factual.
4. The fourth aspect of creative nonfiction is reading. Reading while conducting research
is not sufficient. The writer must read the work of the masters of his profession.
5. The final element of creative nonfiction is writing. Writing creative nonfiction is both
an art and craft. The art of creative nonfiction requires that the writer uses his talents,
instincts, creative abilities, and imagination to write memorable creative nonfiction.
The craft of creative nonfiction requires that the writer learn and deploy the style and
techniques of creative nonfiction in his/her work.
Types of Creative Nonfiction
Creative nonfiction is about fact and truth. The truth can be about a personal
experience, event, or issue in the public eye. There are many categories or genres to choose
from, such as the personal essay, memoir, and autobiography. The following is a list of the
most popular types of creative nonfiction:
1. Personal Essay. The writer crafts and essay that is based on personal experience or a
single event, which results in significant personal meaning or a lesson learned. The
writer uses the first person “I.”
2. Memoir. The writer constructs a true story about a time or period in his/life, one that
had significant personal meaning and a universal truth. The writer composes the story
using the first person “I.”
3. Literary journalism essay. The writer crafts an essay about an issue or topic using
literary devices, such as the elements of fiction and figurative language.
4. Autobiography. The writer composes his/her life story, from birth to the present,
using the first person “I.”
5. Travel Writing. The writer crafts articles or essays about travel using literary
devices.
6. Food writing. The writer crafts stories about food and cuisine using literary devices.
7. Profiles. The writer constructs biographies or essays on real people using literary
devices.

Guidelines for Writing Creative Nonfiction

Not only must the aspiring writer of creative nonfiction learn the techniques, but
he/she also requires a good understanding of the guidelines. The following are 12 guidelines
for writing any type of creative nonfiction:
  Research the topic. Both primary (interview, personal experience, or participant
observation) and secondary research (books, magazines, newspaper, Web)
 Never invent or change facts. An invented story is fiction.
 Provide accurate information. Write honestly and truthfully. Information should be
verifiable.
 Provide concrete evidence. Use facts, examples, and quotations.
 Use humor to make an important point.
 Show the reader what happened, don’t tell them what happened. To do this,
dramatize the story.
 Narrate the story. A story has an inciting incident, goal, conflict, challenges,
obstacles, climax, and resolution.
 Write about the interesting and extraordinary. Write about personal experiences,
interesting people, extraordinary events, or provide a unique perspective on everyday
life.
 Organize the information. Two common techniques are chronological or logical
order.
 Use literary devices to tell the story. Choose language that stimulates and entertains
the reader, such as simile, metaphor, imagery.
 Introduce the essay or other work with a hook. Its purpose is to grab the readers’
attention and compel them to reader further. Popular hooks include a quotation,
question, or thought-provoking fact.
 End the creative nonfiction piece with a final, important point. Otherwise the
reader will think, “So what!” “What was the point? It was an interesting story, but
how does it apply to me or my life?”

II. HYPER POETRY

Hyper poetry is a form of
digital poetry that uses links using
hypertext mark-up. It is a very visual
form, and is related to hypertext
fiction and visual arts. The links
mean that a hypertext poem has no
set order, the poem moving or being
generated in response to the links
that the reader/user chooses. It can
either involve set words, phrases,
lines, etc. that are presented in
variable order but sit on the page
much as traditional poetry does, or it can contain parts of the poem that move and / or mutate.
It is usually found online, though CD-ROM and diskette versions exist. The earliest examples
date to no later than the mid-1980s.
Description:
Hypertext poetry, is a subgenre of digital poetry. Digital poetry is sometimes referred to as e-
poetry, electronic poetry, and cyber poetry. The genre mostly falls into two subgenres:
interactive poetry and hypertext poetry (Poetry Beyond Text).
Hypertext poetry utilizes the components of hypertexts. Hyperlinks are embedded,
throughout, or in some cases "each word, phrase or line." Each link brings the reader to
another page "that defines or expands on the idea represented by the text of the poem"
(Hypertext Poetry and Fiction). The links most often stem from the "primary text. However,
some hypertext poems that do not have a primary text. In these works, the reader of the poem
chooses the way he navigates the poem through the amount and pattern he chooses with the
hyperlinks (Montecino).

Example of Hyper Poetry:

Do You Believe?
I was that kid who has read a lot of fairy tale books
Princess with glass slippers, peter pan who fights captain hook
Fascinated, I remember each story my mom read to me
I believed one day; they will appear for me to see.

We all knew a lady who glows in a white silky dress

The one with pretty wings and a gentle caress
I eagerly wait for her looking out my window,
But she always exchanges my teeth with coins under the pillow.

A big, chubby, good, old man in red

The one who gives us gifts riding his sled
Along with the help of his elves and reindeers
The time for enjoyment is here, let go of your fears!

Now who could’ve forgotten this man with and hourglass?

Nope, he doesn’t come when we sleep in class.
 He guards us in our sleep to avoid nightmares
Like the ones with zombies, witches or grizzly bears.

Lastly, the cute little guy who loves a good hunting game
Colorful eggs, baskets… You know him and his name!
In the time of the year called “Easter”
He’s the first one you will remember.

As the years pass, their story becomes untold

Sweet old myths that’s good as gold
Tooth fairy, Santa Claus, Sandman, and the Easter bunny
Do you believe in them? Do you believe like me?

Elements of Hyper Poetry:

1. Kairos
With the digital revolution, there is a growing number of writers using electronic media to
create and publish their works (Kendall). Many writers in using electronic format expanded
to include the format of the hypertext, which is interactive in nature. Writers are able to break
away from the restrictions of paper (Kendall) and use content and features to create nonlinear
poems that are associated with the medium. The hypertext also allows writers to experiment
with elements like hyperlinks, images, sounds, and video (Kendall).

2. Audience
The audience plays an interactive role in the navigating and reading a hypertext poem.
Astrid Ensslin argues hypertext poetry, which she terms hyper poetry, is the "most creative
and trans-artistic genre" out of all the hypertext genres because it offers the most
"multisensory textual experience." She argues this because it incorporates "nomadism" and
brings the reader away from the "verbal narrative” (Ennslin).
Hypertext Poetry is on the trend to become increasingly more popular in the upcoming
years, as more and more writers use digital media to create and publish their works. The
genre attracts users who want to be involved in the reading experience (Picot).

3. Content
Hypertext poems can include the traditional components of a poem which are: words,
lines, and stanzas. Most are in the form of free verse. However, the genre also includes other
multimedia components including: sounds, visual images, and three-dimensional letters,
which makes it hard to identify most of the formal poetic conventions (Hypertext Poetry And
Fiction).

4. Formal Features
Hypertext poems include "hyper textual features" which are mostly composed of
hyperlinks that lead to a nonlinear reading of the text (Ensslin).
Hypertext poetry also includes hypermedia poetry. It moves beyond linking text to other
websites, and adds features such as, "image, sound, video and animation" (Millan). An
example of these features could be a sound "of a lawn mower" with words like "'mowing',
'stop', 'Sunday' and 'morning'" in succession across the readers’ screen (Hypertext Poetry and
Fiction). These types of features, or multimedia elements, make it hard to link hypertext
poetry to any formal poetry conventions (Hypertext Poetry and Fiction).

5. Ancestral Genres
One ancestral genre to hypertext poetry is the hypertext. Hypertexts allow a nonlinear
reading of the text in which an audience is able to have an interactive experience with the text
through the use of hyperlinks, which when clicked on, bring the reader to another website
(Christopher Funkhouser). Hyperlinks, are often referred to as simply links, and utilize URLs,
HTTPs, and HTMLs, (What are Hyperlinks?). Usually hyperlinks are in the form of
highlighted or "underlined" (Montecino) words within the text, which when clicked bring the
viewer to another website that provides an expansion on the concept (What are Hyperlinks?).
Christopher Funkhouser expands on the audience's interactive role with the hypertext, and
how based on his, "interest, engagement, and curiosity" he can control his navigation of the
text.
Hypertext also functions as a collaborative text by blurring the roles of author and reader
become (Keep). Hypertexts are seen as electronic texts but Christopher Keep argues that
hypertexts are not restricted to "technology, content, or medium" (Keep).
Oral poetry shares the nonlinear shape of hypertext poetry. With each reading of an oral
poem it changes shape, which relates to how hypertext poetry changes for each reader that
reads the poem because of the nonlinear interactive navigation of the text (Ennslin).

Notable Examples of Hypertext Poetry:

 Penetration: Is a well-known example of a hypertext poem. The poem is from the
collection The Seasons, which was published in 2000 by Eastgate. The collection
consists of two poems: Dispossession and Penetration. The poem is set up so that the
reader has choice to begin the poem through different perspectives. For example, by
clicking on "daylight" the poem is in the perspective of the daughter (Di Rosario).
Then the path of the poem is dictated by the what the reader chooses after each
passage, by clicking on one of the series of choices below the passage (Di Rosario).
  Low Probability of Racoons: Is a website set up by Peter Howard, a well-known
digital poet, for some of his works, some of which includes hyperlinks his own
hypertext poetry.

III. CHICK LIT / CHICK LITERATURE

It consists of heroin-centered
narratives that focus on the trials and
tribulations of their individual
protagonists. It often addresses issues of
modern womanhood – from romantic
relationships to female friendships to
matters in the workplace – in humorous
and lighthearted ways.
There are certain elements all chick lit novels have in common.
 They all feature a woman in her twenties or thirties as a protagonist
 The novels are mostly set in urban environments, most notably New York or London.
 The protagonists are career-women
 The protagonists are often single although they usually all end up with someone.
 Fashion often plays a big role in a chick-lit novels. The characters can either be
obsessed with it or the plot itself can be centered around fashion industry.
 The book covers often reflect this trend - they may feature articles of clothing,
martinis, parties and other symbols of a glamorous lifestyle.

IV. ILLUSTRATED NOVEL

Generally, 50% of the narrative is presented without words. The reader must interpret
the images in order to comprehend the complete story. Textual portions are presented in
traditional form. Some illustrated novels may contain no text at all. Illustrated novels span all
genres.

Elements of Illustrated Novel:

1. Panel - A distinct segment of the comic, containing images and text

2. Frame - The lines and borders that contain the panels

3. Gutter - The space between framed panels

4. Bleed - An image that extends to and/or beyond the edge of page

5. Captions - Boxes containing a variety of text elements (setting, description)

 6. Speech Balloon - Enclose dialogue that comes from a specific speaker's mouth and
can vary in size, shape and layout
7. External Dialogue - Dialogue between two or more characters

8. Internal dialogue - Thought enclosed by a balloon that has a series of dots or bubbles
leading up to it
9. Special-effect lettering - Lettering that draws attention to text; often highlights
onomatopoeia and impact words (wow, bang)
10. Closure - The reader's completion of meaning between panels

11. Long shot - Images that show objects fully from top to bottom

12. Extreme long shot - Images that show images or characters in a really small scale

13. Close-Up - Images shown in a large view

14. Extreme close-up - Image shown in a very large view

15. Splash page - A panel that takes up the whole page of a comic

16. Splash panel - A panel that takes up the space of several panels in a comic

17. Palette - The colors used in a comic

18. Emanata - Text or icons that represent what is going on in the character's head

19. Spread - Two facing pages in a printed book

20. Inset - A panel contained within a larger panel

21. Speed lines - Lines that represent motion

22. Reverse - Images in the opposite position from the previous panel

23. Signs - Text labels written on objects in comics

24. Voice over - A narratory block in which a narrator or character shares special
information with the reader

V. GRAPHIC NOVEL
Graphic novels use a sequence of illustrations to tell a story. They use the same text
bubble and image panel format that we find in comics, but unlike comics which are
serialized, graphic novels are published in book format, and usually tell a
stand-alone, complete story. This again makes them different from
comic books which are usually just a bound collection of comic
strips which were previously published as a periodical serial.
Graphic novels, are also very diverse because they are a format –
so they can cover any genre and any topic.
In the past, graphic novels in any form were generally dismissed
as inferior literature – “not proper reading”! As a school
librarian you may come across teachers and parents who still feel this way about them. At
best, they regard graphic novels as something to be tolerated in the hope that eventually their
child will “move on” to more “quality literature.” But at the end of the day reading is reading
and it is a well-known fact that children who read for fun and find pleasure in reading
become lifelong readers.
In fact, graphic novels rightfully have a place alongside novels, picture books and
audiobooks as they offer a huge range of reading experiences. Their rich and complex texts
also require readers to examine, decode and combine multiple elements to acquire meaning.
Elements such as:

 linguistic (written language)

 visual (mood through colours, shading, composition etc.)
 gestural (body and facial language)
 spatial (panels, layout …)
 symbolic (icons, balloons, visual representations and emanata).
So, it may actually be argued that the reader of a graphic novel has to work much
harder than someone reading a novel! Best of all, studies have shown that readers benefit
from greater information retention because they have to decode so many different elements
using multiple literacies. This is why graphic novels are increasingly being used in
classrooms, and even in tertiary education.
In addition, graphic novels contain precise and rich language. They demand the
authors to be concise. They don’t have long paragraphs and the constraints of the page
demand that the dialogue is kept to a minimum. As with a picture book no word can be
wasted, which forces the writer to be incredibly precise with the written word. This models
excellent writing and offers rich vocabulary because every word matters. As an English
teacher noted, among all the fun and silliness of Dog Man: Lord of the Fleas, just one page
featured the words ‘shun’, ‘redundancy’, ‘eschew’, ‘reiteration’ and ‘recapitulation’!
Advantages of reading graphic novels include:
 They engage those readers, particularly reluctant boys, who can read but haven’t yet
been hooked!
 Provide scaffolding for ESL students.
 Increase reading comprehension and vocabulary.
 Serve as a bridge between low and high levels of reading.
 Provide an approach to reading that embraces the multimedia nature of today’s culture
 Serve as an intermediary step to more difficult disciplines and concepts.
 Present complex material in a way that makes it easier to understand
  Develop skills such as inference and deduction which play a vital part in the reading
experience
 Develop analytical and critical thinking skills.
 Offer another avenue through which students can experience art
In summary, graphic novels are an excellent resource for use in schools. They attract
readers with their visuals and actually encourage reading because they don’t seem as
daunting as a whole book filled with words. They are generally fast paced, and the word-to-
picture correlation provides an easy way for children to expand their vocabularies. The visual
elements help early readers to decode text and derive meaning whilst the relative speed and
immediate enjoyment that the children receive when reading these books also helps build
reading confidence. More importantly, comics extend the reading for advanced readers with
the interaction of the written and visual narratives adding complex layers of meaning.
Another plus: the number of titles is expanding rapidly every year, so there’s something for
every child’s interests. Last, but not least, graphic novels positively impact on children’s
visual literacy skills, which are more essential than ever in a digital age.
Consequently, it is possible to build a graphic novel collection which challenges the
good reader whilst also supporting those less enthusiastic. This is the key strength of the
graphic novel in a school library setting. They can be acquired simply to broaden current
leisure reading material, or used to support specific areas within the curriculum. In this way
graphic novels and comics have a definite educational role.

VI. TEXT-TALK NOVELS

The story was told through dialogues in the social
network. The information of the whole work can be read at the
websites, and exchange by chat or using any. Stories told
almost completely in dialogue simulating social network
exchanges.
Characteristics of a Text-talk Novel:

1. Cliff hangers are common.

2. Vowels are not written in SMS slang.
3. Plots are usually about love and passion.
4. There are times that you need to pay for the next
episodes.

VII. MANGA
In Japan, Manga art is highly respected for its ability
to create distinctive characters and imaginative stories. It is a
pop culture phenomenon that has spun off from simply art
and comic stories to Anime fairs, merchandise, and movies. The characteristics of Magna
characters have made all this possible. From the faces and hair to the clothing, accessories,
and over exaggerated emotions, Manga is in a world all to its own.

Types of Manga
 ShÔnen- Boy’s Manga (Pronounced Show-Nen)
 ShÔjo- Girl’s Manga (Pronounced Show-Joe)
 Seinen- Men’s Manga (Pronounced Say-Nen)
 Josei- Women’s Manga (Pronounced Joe-Say)
 Kodomo- Children’s Manga (Kow-Dow-Mow)

Elements of a Manga:

1. Face
The face is the first characteristic you notice on a Manga character. With oversized
eyes, an almond-shaped face, and a very small mouth, the face stands out over the rest of the
body. With the rapid switch from distance to close-up shots, the face is key to drawing you
into the character and keeping you in the emotion of the story.

2. Hair
A Manga character's hair is a key characteristic, and therefore needs to be elaborate
and eye-catching. It is not uncommon for the character's hair to be long with many lines and
of an abnormal color. This is the look of traditional Japanese Magna characters and creates a
visual dynamism that separates these characters from mainstream animation that comes out of
the United States.

3. Clothing and Accessories

The way a Manga character dresses and accessorizes represent who and what they are.
For example, if the character is of a spiritual nature, then they might wear a cloak or a piece
of cloth that floats to represent the spiritual plane. This represents who they are. For Magna
warrior characters, accessories are what define the character. Swords, spears and other
weapons represent what they are. These details are important and should not be ignored.

4. Exaggerated Emotions
Manga characters are known for their over exaggerated emotions. When a cartoon
character cries, visible tears fall from their face, but when a Magna character cries, it rains
down in buckets. Eyes reduce in size, and the mouth either reduces in pain or expands if the
character cries out. The same can be said for anger. Magna evokes intense color in the face
and steam coming off the body. Magna characters become consumed by emotion.

VIII. DIGI FICTION

Digi-fiction is a literary experience that

combines three media; book, movie/video, and
Internet website. In order to get the full story,
students must engage in navigation, reading,
viewing, in all three formats.
Why did digi-fiction emerge?
1. People’s attention span was becoming shorter and shorter and that it was important to
give people more options on how they consumed entertainment and books.
2. There has been a technological paradigm shift (from sit back media to lean forward
media).
What do we need to know?
1. It can mean that the entire book can only be found online.
2. Sometimes works include passcodes so that there will access to more information.

IX. DOODLE FICTION

A literary presentation where the author incorporates

doodle drawings and hand written graphics in place of
traditional font. Drawings enhance the story, often adding
humorous elements that would be missing if the
illustrations were omitted.

Characteristics of a Doodle fiction:

 Simple drawings that can have concrete
representational meaning or may just be composed of random and abstract lines.
 Doodling engages the brain's “executive resources” - processes that help us plan,
multi-task and concentrate.
 It also acts as a mediator between the spectrum of thinking too much or thinking too
little and helps focus on the current situation.
 Mathematicians and scientists use doodles to explain complex theories and equations.
Business people use doodles to map business plans and strategies. Across the globe, people
from all walks of life are doodling to help them communicate – to give visual representation
and meaning to their ideas and to help others.
Elements of a doodle fiction:

1. Plot – in fiction, the structure of interrelated actions, consciously selected and

arranged by the author.

2. Characters – is a person in a narrative work of art (such as a novel, play, television

series, or movie). The character can be completely fictional or based on a real-life
person.

3. Setting – the setting is both the time and geographic location within a narrative or
within a work of fiction.

4. Person Point of View – is essentially the eyes through which a story is told. It is the
narrative voice through which readers follow the story's plot, meet its characters,
discover its setting, and enter into its relationships, emotions, and conflicts.

5. Theme – in works of fiction, a theme is the central idea or ideas explored in the story.
6. Style – doodles are simple drawings that can have concrete representational meaning
or may just be composed of random and abstract lines, generally without ever lifting
the drawing device from the paper, in which case it is usually called a "scribble".

X. FLASH FICTION
Flash fiction goes by many names,
including micro-fiction, micro-stories, short-
shorts, short-short stories, very short stories,
sudden fiction, postcard fiction and nano-fiction.
While it can be difficult to pinpoint an exact
definition of flash fiction based on word count,
consideration of several of its features can help provide clarity, like its brevity, length,
background and purpose.

What Are the Rules of Flash Fiction?

Flash fiction is the modern term given to a very short story, usually one under 500
words in length. There is no standard definition and some people argue the term only applies
to stories of less than 300 words and others say that any story under 1,000 words qualifies.
Whatever the agreed length of flash fiction, it should still contain all the elements that you
would expect to find in a longer story.

Elements of Flash Fiction Explained:

  Flash fiction must have a beginning, middle and an end.
 For the story to have impact there should be some change in action or motivation of
the protagonist.
 The reader needs to feel that there is some kind of resolution by the end of the story.
 Writing to such a tight brief is difficult. It is a different skill to that of writing a novel.
Flash fiction requires brevity.
 An author needs to convey character and plot in a succinct manner and make every
word count.

The Essentials of Flash or Micro Fiction

1. The story is short in length. This could be as brief as 6 words, or as long as 1,000.
2. The tale must engage with a reader's emotions. Your characters must be fully
developed and not cardboard cut-outs.
3. Good fiction includes a surprise or plot twist. The ending should be unexpected and
not predictable.
4. The story should mark a change or epiphany for the main character. This could be a
physical change, or a change of mind that has life changing impact.

Characteristics of a flash fiction:

If you’re writing a flash fiction story, it’s important to know how they are similar—
and different—to longer stories. Flash fiction is shorter, but it should not feel too short. Here
are some traits of strong flash fiction stories.

1. Story Structure: A flash fiction story is not the shortened version of a longer story; it
still follows the elements of plot, including a beginning, middle and end, as well as a
conflict and satisfying resolution.

2. Setting: Most flash fiction stories take place in one setting, as moving between
locations uses up too much space. It allows the writer and reader to focus on the plot.

3. Characters and Backstory: Flash fiction pieces are plot-driven and include no more
than three or four characters. They may include some character development, but too
much backstory can use valuable space.

4. Description: One may think that flash fiction stories are short on description to save
space. However, a strong piece can balance vivid descriptions with a quick-moving
plot. Stories that lack description are not satisfying to read, and a flash fiction piece
should feel complete.

XI. SIX WORD FLASH POETRY

 Six-Word Stories are especially challenging to write. They have no beginning,
middle, or end, but tell an entire story in only six words. The most famous example of a six-
word story is attributed to Ernest Hemingway: “For sale: Baby shoes, never worn.”
With Hemingway’s example, the story structure manages to establish character,
conflict, and tone without direct exposition. Readers are left to their own tragic interpretation
when it comes to the words that are not present.
  There are four elements that every flash fiction piece needs to have if you want it to
be good. And if you mix them just right, your flash fiction might even end up great.

1. Realistic Characters/Settings
The obvious concern in flash fiction is “how do I make my characters and setting real
in 1,000 words or less?” I have a few suggestions for you.
 Show us things about your characters/settings that make them unique. In other words,
skip the boring stuff—your readers can fill that in on their own.
 Keep your number of characters and settings low. One major or supporting character
per every 300-500 words is a good metric, and most flash fiction stories only have one
setting.
 Stick with one-character point of view if possible, or maybe two.
 Whenever possible, write dialogue that both advances the story and reveals character.
2. Solid Plot/Structure
“My story can only be 1,000 words long. Do I even need story structure?” Of course,
you do, perhaps now more than ever. A solid percentage of the stories Splickety rejects are
for one reason: nothing is happening. Adding story structure and having a recognizable plot
can help you get published instead of rejected.

Here are some ideas on how you can do that better:

 Establish a recognizable beginning, middle, and end. Your story can begin in the
middle of something, but the conflict and characters have to develop in the middle.
We also need some kind of resolution at the end, even if it’s somewhat obscure.
 In your beginning, start with a gripping hook (just like in a novel) to pull us into the
story.
 Your end line should also pack significant punch.
 Remember: above all else, something has to happen.
3. Gripping Conflict/Tension
If you haven’t heard by now, great fiction of any length needs both conflict and
tension in order to drive the characters and the plot. There are two kinds of conflict under
which all other kinds fall: internal and external. Both are useful tools for motivating your
characters and moving the story along by creating tension.
Here’s how:
 In general, conflict means that something opposes your character.
 Internal conflict means that something within your character opposes him. Ask him
questions to figure out what it is. Is it a hidden disease? A hurt from his past? A dark
secret? Self-doubt?
 External conflict comes from outside the character, usually from one of three sources:
other characters (antagonists), the setting, or events.
 Combine the two types of conflict against your character and he’s in for a rough ride
—which means your readers can expect a compelling story.
Not all conflict in your story has to be resolved in the traditional sense. It’s okay to let
the reader wonder how things worked out as long as you plant clues that give them an
indication. If you’ve ever seen the movie Inception, you know what I mean.
4. An Excellent Editor
Yes, you need to pay your flash fiction the same respect you’d pay your novel by
ensuring that it is well-edited. Some of us are capable editors on our own, but that doesn’t
mean we shouldn’t get help here.
For example, I run a flash fiction magazine, have written six unpublished novels, and also
hawk my own services as a freelance editor. Of anyone in the world, I should be the most
likely person to not need an editor for my own flash fiction, right?
Wrong. Though I combed through my most recent flash fiction piece (set to debut in the
holiday issue of Splickety Magazine) with unparalleled obsession, I sent it to two authors
whom I trust for their review as well.
Guess what? They both found errors and places where I could improve the story.
No matter how good of a writer you think you are (or actually may be), you need to have
another set of eyes read and edit your piece before you submit it, especially if it’s to
Splickety. We even included that provision in our submission guidelines.
Here are the practical editing strategies that will help you make sure your piece is virtually
perfect:
 Remember that every word cut is to your benefit. You never know when you may
have to add more content later on.
 Utilize others: critique groups and partners, test readers, or hire a professional.
 Make sure that you follow all submission guidelines. That’s something that publishers
really want you to do.
XII. SCIENCE FICTION

It is often called “sci-fi,” it is a genre of fiction

literature whose content is imaginative, but based in
science. It relies heavily on scientific facts, theories,
and principles as support for its settings, characters,
themes, and plot-lines, which is what makes it
different from fantasy.

Characteristics of a Science fiction:

1. Non-Human Characters

It's a cliché that sci-fi fiction and film are full of aliens. There's a reason that cliché
exists—it's because it's true. Aliens are among the non-human characters that we'll find in
sci-fi. But sci-fi isn't just about aliens. It's about robots, for example, or people who are just a
little bit more (or less!) than human, like Frankenstein's monster.
Sci-fi, in other words, is very much about exploring the limits of being human. What
exists beyond us regular folk living on earth? Suppose there are "extraterrestrial" creatures.
Would they be like us or would they be different from us? And what about machines? Can't
they have feelings, too? By focusing not only on human, but non-human characters, sci-fi
writers force us to consider what we even mean by the "human."

2. Allegory

Sci-fi works may be set in fantastic locations far away from where we mere mortals
live, but that doesn't mean that they have nothing to do with us. That's because even when
sci-fi writers write about distant worlds, they're really often writing about our own world.
Sci-fi tends to be allegorical: the best sci-fi works often have a hidden meaning,
because they work as a commentary on our own world and our own social and political
systems. These sci-fi writers are a pretty sneaky bunch. They transport us to distant worlds
only to get us thinking about the way that we live in this world.

3. Science and Technology

Maybe it's a bit of a no-brainer to say that science is a big part of science fiction. We'll
also add technology to the mix, because science and technology are big in this genre. Hey,
just because it's obvious (we hear you saying "Technology in sci-fi?! Really, now?!") doesn't
mean it's not true.
What makes sci-fi works sci-fi is the fact that their settings, their plots, their
characters, their conflicts, all center around science and technology in some sense. After all,
we wouldn't have all of those great Sci-fi works set in outer space if it weren't for the fact that
science and technology allow characters to travel to outer space in the first place. 
4. Time Travel

Often, the whole plot of a Sci-fi work is set in a distant time, usually in the future.
Sci-fi writers are obsessed with exploring times that are very different from ours. This, again,
is one of the defining characteristics of the genre. If we're reading a book where things are
taking place in the distant future, odds and good that it's a sci-fi book. And, because it's a sci-
fi book, the goods are also pretty odd.

5. Journey

We'll find lots and lots of journeys in sci-fi. People are traveling all over the place.
They might zip from galaxy to galaxy, or from time to time. If the whole universe were your
oyster, wouldn't you be jumping from one place to the next too?
So, journeys are another recurring theme in sci-fi. If we pay close attention, we'll find that
there's hardly a sci-fi text that doesn't include some kind of voyage. This is often one of the
structuring devices in works of sci-fi.

6. Dystopia

Sci-fi writers like talking about our world by pretending to talk about another world.
They're sneaky and nuanced like that.
And one of sci-fi writers’ favorite ways to do this is to depict dystopia. Some of us
may have heard the word before, but for those of us who haven't, dystopia is the opposite of
utopia. A utopian society is wonderful: people are free and happy and the sun's shining and
everything's just dandy. In a dystopia people are oppressed, they're miserable, and everything
they do is controlled by some authority.
Some of the most famous sci-fi works—like Aldous Huxley's Brave New World and
George Orwell's 1984—are futuristic depictions of dystopia. Sci-fi writers love warning us:
"If we continue down this road our society will look like this  in a hundred, or a thousand
years. And it isn’t pretty."

7. Age of Reason

The roots of sci-fi really go back—way back—to the Age of Reason. That's the 18th
century we're talking about, when the Enlightenment changed the world as we know it.
During this time, philosophers and scientists emphasized the use of reason over
superstition. More and more of the world was being explored and mapped, and it was around
this time that authors began writing texts speculating about the future, and focusing their
stories on scientific endeavor.

8. Advances in Science and Technology

 The Scientific Revolution, which got going in the 16th century in Europe, had
a huge (like, phenomenally large) impact on our understanding of the world. Scientists and
mathematicians like Galileo and Isaac Newton made discoveries that continue to impact us to
this day (heard of calculus? Yeah, we have Newton to thank for that).
Advances in science and technology really revved up in the late 18th/early 19th
century, and these advances made sci-fi possible as a genre. During this time, we learned a lot
—and we mean a lot—about nature. And thanks to the industrial revolution, beginning at the
end of the 18th century, technology also developed at a very speedy pace.

9. Sci-Fi Magazines

The golden age of sci-fi coincided with an explosion of magazines that published
science fiction. In fact, some of the most popular sci-fi works were first published in
magazines that released work in serial format.

The important elements of science fiction:

1. Speculation

The speculative question "what if?" is the starting point for all science fiction. Many
scholars list Mary Shelley's novel "Frankenstein" as one of the first science fiction books.
Shelley's book gave an answer to the question of what would happen if a scientist, Victor
Frankenstein, used electricity to reanimate a corpse. Other science fiction stories answer
questions about what would happen if first contact with aliens occurred or if humans
achieved faster-than-light space travel.

2. Science Impacts

Science fiction frequently includes stories about the impact of scientific or

technological change on people. For example, H.G. Wells' "The Time Machine" explored the
consequences of building a machine that could carry its occupant far into the future. The
"Star Trek" television shows and films portray a future "Federation of Planets" that couldn't
"boldly go" anywhere without the warp drive that allows the Enterprise to travel between the
stars.

3. Setting

Science fiction stories often take place in the future or in alternate universes. The
"Star Wars" films, for example, contain many futuristic elements, even though they feature
events that happened "a long time ago in a galaxy far, far away." If they are set closer to the
present day, they include scientific speculation that differs from ordinary daily life -- as in
"The Running Man" book and film, which tell the story of a cop framed for a crime he didn't
commit who must survive a deadly TV game show.
4. Related Genres
 Horror is one of the most closely related genres to science fiction. Most people
consider "Frankenstein" to be both a horror and a science fiction story. Zombie stories are
one of the most popular current types of horror; some have a supernatural explanation, but
others do not. For example, the post-apocalyptic world of the television series "The Walking
Dead" is the result of a zombie virus. The "Alien" films include gruesome, horrifying alien
monsters alongside less-frightening science fiction elements such as cloning and space travel.
XIII. BLOG
A blog is an online journal or informational
website displaying information in the reverse
chronological order, with the latest posts appearing first.
It is a platform where a writer or even a group of writers
share their views on an individual subject.

Blogging Sites
 WordPress
 Google Blogger
 Type Pad Is
 Movable Type
 Drupal

Ten characteristics of a blog:

1. A Blog Must Always Be Dynamic
A common question about a blog is how it relates to a website – are these two
essentially the same, or are there any differences between them? While websites are mainly
presentational, blogs are always intended to engage. A website is therefore static, as opposed
to a blog that must be dynamic.
The information offered by websites is presented on static pages, in the form of an evergreen
content that doesn’t require any updates. Blog posts, on the other hand, are like diary entries;
they include a publishing date and meta tags. New entries and regular updates are key to
running any kind of blog.

2. Posts Are Displayed in Reverse Order

Unlike with a personal diary written in a notebook, blog entries are displayed in reverse
chronological order – the newest posts being on top. The latest ones’ push previously
published ones down the list until they completely disappear from the landing page. Older
posts are usually archived on the following pages, but they can also be organized by the
month or year when they were first published.
 3. Most Blogs Have the Same Structure
First comes a header with the menu or navigation bar to declutter the page and make a
great first impression. It’s followed up by the main content area on which blog posts appear
either by order of publishing or by relevance. Down below are contact pages, privacy
policies, and relevant links, neatly arranged in a footer. A sidebar highlights favorite entries
and displays social profiles and call-to-actions.

4. The Blog’s Leading Star Is Its Content

Different blogs publish different types of posts, though a majority of them relies on the
power of the written word. Depending on the author’s intention, an article is typically an
opinion piece, an instructional guide, or a news post. Monotonous chunks of text are
separated with images or videos.
A blog post can also be a picture with little or no text. It’s a common trend in fashion
and travel blogs, though it’s also not rare for business-related niches to publish infographics
instead of instructional articles. But regardless of the medium, a blog is always defined by the
quality of its published content.
5. Headlines Should Be Attention Grabbers
Naming a blog post is an art by itself. There’s a whole philosophy behind writing article
headlines – a compelling one can truly silence the noise, instantly generating clicks, driving
traffic, and enticing a reader to read on. Nowhere in the online universe are titles given the
same kind of attention as here.

6. One Rule Applies to All Blogs: Relevancy

Though every engaging content must be relevant, this rule especially applies to blogs
posts. They might differ in types, mediums, formats, and styles; in order to arouse interest or
evoke debate, they have to be original and unique; but to be read at all, blog posts must
always deliver upon their promise.

7. Blogs and Links Go Hand in Hand

As a promotional strategy, link building is not limited to blog posts, but it definitely is a
characteristic that all decent blogs share. Blogs and links go hand in hand even when
marketing isn’t the goal. Internal linking, for instance, ensures intuitive navigation between
mutually relevant posts, thus providing an exceptional reading experience. It’s about the flow
and facilitation of knowledge transfer.

8. A Blog Is Founded on Personal Touch

The word “blog” derives from an earlier version “weblog”, which initially referred to
personal online journals. Before blogs became political in the early 2000s, they were merely
means to make private thoughts and opinions public. The personal touch, however, remains
their vital characteristic to date.
 Even with today’s universal topics, the recommended interpretative approach is the one
that implies uniqueness. If the subject matter requires utmost objectivity, the personal touch
is accomplished through an individualistic writing style. Every blog author has an “About
Me” page and a distinct signature mark.

9. Posts Should Always Encourage Debate

The comment section is another mutual characteristic of respectable blogs. It’s typically
located at the end of every post, as a place for readers to engage in a conversation and leave
their honest feedback. The ability to provoke a response and encourage interaction is held in
the highest regard by all readers.

10. All Blogs Are About Communication

With or without open debate, communication is still the end purpose of each and every
blog post. If the blog is promotional, its goal is to attract the audience and open a dialogue
that will hopefully convince them to buy what the owner is selling. If not about sales, then
it’s about spreading the word.
Whether it imparts knowledge, provides solutions, or simply entertains, blogging is a
brilliant way of reaching out and communicating with the world. Without any question at all,
such a transformative power of free expression and exchange is the single most important
characteristic of any terrific blog.

Characteristics of a quality blog post

Every blog post requires time and effort. The time spent on creating quality posts
translates directly into more clicks and higher site traffic, making the investment worth it.
There are many things that can influence the quality of your blog posts, and it all mostly
depends on your niche, style, and audience. However, no matter how diverse the blog posts
are, there are still a few things that everyone should pay close attention to if they want to
leave an overall good impression on their readers.

1. Thought-out Design
We’ve already touched upon the topic of monotonous chunks of text and how undesirable
they are in blog posts. The reason behind this being how quickly your readers make a
judgment about your post. You have just about 50 milliseconds to make a good first
impression.
Blocks of text are often overwhelming, and if the readers cannot scan through the text
with ease, they’ll move on from your site. So, make sure to use short paragraphs, break up the
text with some interesting visuals such as images, GIFs, videos, infographics, etc.

2. Perfect Length
 One of the most common questions about blog posts is how long they should be. The
simplest answer is long enough.
Most would believe that because of the shorter attention span of readers, the posts
themselves should be shorter.
The fact of the matter is that as long as your post is informative and as long as it answers
your audience’s questions, it doesn’t matter how long it is.
If you have a 500-word limit but have much more to say on the topic, go right ahead. On
the other hand, don’t spread out 500 words worth of content to 3000 words.
The focus should be on the quality of the content. As long as the blog post offers value to
the reader, its length is unimportant.

3. Original Content
Regardless of the niche you choose for your blog, it’s more than likely that someone has
covered the topic before. Everything’s already been said and done, but this doesn’t mean you
should just copy-paste the content.
Primarily, to stand out from the crowd, you need to offer a new approach to the covered
topics. This can be done with your tone of voice, style of writing, or point of view.
Going back to that “personal touch”, if you’ve chosen a niche that you’re passionate
about, offering your own unique approach to it shouldn’t be difficult.

4. Great Research
Every high-quality blog post requires time and effort invested in the research. The more
you devote yourself to the research, the easier it becomes to write the post.
Primarily, this will give your insight into other’s opinions on the topic, you’ll dive deeper
into it, making it easier to form your own unique approach to it.
Secondly, the easiest way to lose readers is by being unreliable. Every claim should be
backed up by evidence, so links and citations from credible sources are essential.
REFERENCE:

 https://www.scribd.com/document/492519566/Module-in-Contemporary-Popular-
and-Emergent-Literatur-2